Musings on biblical studies, politics, religion, ethics, human nature, tidbits from science
Category: Ancient Literature
Original intention was to include here all non-Jewish works. Should this separation stand? What of Ezekiel the Tragedian or Artapanus of Alexandria and other similar Jewish authors in a “secular/Hellenistic” world? Is the subsequent breakdown into children categories justified?
Was it acceptable for Greek, Roman and Jewish historians to invent accounts of the past?
Did even historians imitate and creatively reproduce entire passages from the great epic poems and tragic plays of their day?
Can we trust ancient historians who declare they relied upon eyewitness reports?
How does our understanding of history differ from the ancient concept of “historia”?
What implications do the answers to these questions have for the way we interpret the historical books of the Bible?
Thucydides has long been reputed to have been the first “scientific historian”. In his introduction he clearly indicates that his account of the Peloponnesian War is to be based on eyewitness reports and his own personal observations. He will eschew all myth and fable. His prose is austere, complex and compressed. He is accordingly judged to be a sober, critical, authoritative historian.
A.J. Woodman
Classicist A. J. Woodman in a 1988 publication, Rhetoric in Classical Historiography: Four Studies, showed us that these views of Thucydides were in fact myths. Moderns have naively taken Thucydides’ words at face value or sometimes misinterpreted them in the light of modern ideals of how history should be written. We have also failed to recognize that even this “founder of scientific history” is in fact writing creative fiction that very often has more in common with Homeric epics and Greek tragedies than dry, scientific history.
So how is this possible? And if we can err in attributing our ideas of historical interests to Thucydides can we be sure we are not making the same mistakes with, say, Luke-Acts?
The following is not an argument in itself for Luke’s imitation of the utopian community in Plato’s Republic but it does provide the raw materials for such an argument. In another post I plan to elaborate on explanations for the points in common between the earliest Christians in Acts and Plato’s description of the guardians in his ideal state. Hint: they have to do with the relatively recent advances in studies of the way ancient authors imitated master-works and re-wrote them through a process we call “intertextuality”.
Laurent De La Hyre, Community of the first Christians
The table comes from “The Summaries of Acts 2, 4, and 5 and Plato’s Republic” by Rubén Dupertuis, a chapter in Ancient Fiction: The Matrix of Early Christian and Jewish Narrative. After the table I Dupertuis suggests that several inconsistencies in the Acts narrative may be explained most simply if the author was emulating the narrative of the ideal society led by Plato’s philosopher-kings. Traditional explanations for these inconsistencies have suggested the author was switching sources and/or not concerned about consistency. I’ll also cover these explanations in a future post.
First, have another look at those utopian summaries of the first Church. All quotations are from the 21st Century King James Version:
Acts 2:42-47
42 And they continued steadfastly in the apostles’ doctrine and fellowship, and in the breaking of bread and in prayers.
43 And fear came upon every soul, and many wonders and signs were done by the apostles.
44 And all who believed were together and had all things in common,
45 and they sold their possessions and goods and divided them among all men, as every man had need.
46 And continuing daily with one accord in the temple, and breaking bread from house to house, they ate their meat with gladness and singleness of heart,
47 praising God and having favor with all the people. And the Lord added to the church daily such as should be saved.
Acts 4:32-35
32 And the multitude of those who believed were of one heart and of one soul; neither said any one of them that any of the things which he possessed was his own, but they had all things in common.
33 And with great power the apostles gave witness to the resurrection of the Lord Jesus, and great grace was upon them all.
34 Neither was there any among them that lacked, for as many as were possessors of lands or houses sold them, and brought the prices of the things that were sold
35 and laid them down at the apostles’ feet. And distribution was made unto every man according as he had need.
Acts 5:12-16
12 And by the hands of the apostles were many signs and wonders wrought among the people, and they were all with one accord in Solomon’s Porch.
13 But of the rest, no man dared join himself to them, but the people magnified them.
14 And more believers were added to the Lord, multitudes both of men and women,
15 insomuch that they brought forth the sick into the streets and laid them on beds and couches, that at least the shadow of Peter passing by might overshadow some of them.
16 There came also a multitude out of the cities round about unto Jerusalem, bringing sick folks and those who were vexed with unclean spirits; and they were healed, every one.
Dupertuis concludes his discussion on context, structure, terminology, density of parallels, with the following summary tables:
One of the gold nuggets in Clarke Owens’ Son of Yahweh: The Gospels as Novels is its simple explanation of how how to distinguish between historical persons (e.g. Socrates, Thales, Alexander, etc) and fictive ones like (as we shall see) Jesus. I say it’s a “simple explanation” but maybe that’s because I am biased towards the idea of studying how literature works and the importance of understanding the nature of a literary source before we can know how to interpret its story.
I can already hear the groans of people thinking, “But we all know the Gospel Jesus is not the historical Jesus; we all know the Christ of the Faith is not the historical person,” and so forth, so what’s the point? Answer: In a future post we shall see that the very idea that the Gospels can even be used as sources through which theologians can dig to find history beneath them — an archaeological image often used by HJ scholars — is a fallacy.
Let’s return again to John P. Meier. (We’ve spotlighted him a lot lately, and not only with these Owens posts. The price of scholarly renown!)
In The Marginal Jew, v. 1, page 12, Owens focuses on Meier’s bald assertion that literary criticism is of no use to scholars who are seeking to discern genuinely historical material behind the Gospels. (I have argued that that is nonsense but in this post I will try to channel Owen’s voice as much as possible.) And what are Meier’s grounds for giving a priori confidence in the Gospels as gateways to historical information lurking behind the texts?
1st-century documents of Christian propaganda . . . advanced truth claims about Jesus of Nazareth, truth claims for which some 1st-century Christians were willing to die. . . .
Against these tired claims we do know people die for all sorts of nonsense and delusions;
we also know — well many of us do — that the stories of early Christian martyrdoms have been greatly exaggerated into mythical dimensions;
and we also know — at least many of us do — that there are more plausible explanations of Christian origins than a handful of devotees coming to feel a new inner-presence of their master who had been killed as a social and political outcast. (This is nothing other than a rationalistic paraphrase of the myth.)
Is not this a scholarly version, a slightly diluted version, of: “The Bible claims to be the Word of God and since the first generations of Christians willingly died for its message it must be true! No-one would die for a lie!” Scholar’s edition: “The Bible claims. . . . and since Christians died. . . . there must be some truth somewhere there if we look with the proper tools.” Both the conservative believer and the critical scholar in the service of increasing the credibility of theology to the modern world rhetorically conclude: How else do we explain the martyrdoms? How else do we explain Christianity?
When John Meier in his opening chapter of volume one discusses the “basic concept” of “The Real Jesus and the Historical Jesus” he creates the illusion of starting at the beginning but in fact he leaves the entire question of historicity begging.
Of course we can’t know “the real Jesus” given the time-gap and state of the records; after all, we can only partially know “the real Nixon” despite his recency and the avalanche of material available on him.
Of course it becomes increasingly difficult to assess “the historical” the further back in time we go; it’s hard enough knowing what to make of Thales or Apollonius of Tyana “or anyone else in the ancient world” and the evidence is just as scant for Jesus.
Owens identifies what Meier has done in making such comparisons (my bolding in all quotations):
An implication exists in the double comparison, which is that Jesus is as real as Nixon and as historical as Thales but the explicit point is that there is less ‘reality’ data on Jesus than on Nixon, and as meager ‘historical’ data on Jesus as on Thales.
We note that what we might consider the “first question” of any book purporting to deal with the issue of a ‘historical Jesus’ – the question of whether or not Jesus existed — is being set up to go begging. ‘Reality’ is impossible, and ‘history’ is impossibly difficult, so we are to assume both, as we do with Nixon and Thales.
(Owens, Clarke W. (2013-07-26). Son of Yahweh: The Gospels As Novels (Kindle Locations 216-221). Christian Alternative. Kindle Edition.)
Is Jesus really as historical as Thales?
No. And the reason the answer is No is because the qualitative difference between the literary evidence for the existence of Thales and the literary evidence for the existence of Jesus. (John Meier introduced the comparison of Thales so Clarke Owens takes this as a case-study to illustrate his argument.) Continue reading “Jesus Is Not “As Historical As Anyone Else in the Ancient World””
An angel prevents the sacrifice of Isaac. Abraham and Isaac, Rembrandt, 1634 (Photo credit: Wikipedia)
Recently, Gary Rendsburg’s audio course on Genesis became available at The Great Courses web site for just $29.95, and I couldn’t resist. In future posts, I would like to review this series of lectures more completely, but for now, let me just say that it’s pretty good — especially with respect to internal literary analysis — but it does have some serious problems.
Professor Rendsburg, a self-confessed maximalist who believes Abraham was a historical figure and rejects the Documentary Hypothesis (DH), does acknowledge that many of his positions are not currently the consensus viewpoints, but he does an inadequate job of presenting other viewpoints. I don’t criticize him for holding contrary opinions. After all, this is Vridar. But if a lecturer is going to discuss minimalism or the DH, then he or she should at least present them fully and correctly.
Through a glass, darkly
As I said, I want to take a more detailed look at Rendsburg’s course in the future, with special emphasis on the DH. However, this post is about something else altogether: namely, the way scholars steeped in either the Old Testament (or Hebrew Bible, if you prefer) or the New Testament seem to have a limited, if not skewed, understanding of the surrounding contemporaneous world.
We should, of course, err on the side of forgiveness, say, when a New Testament scholar expresses surprise on discovering that for many decades people have theorized that Shakespeare didn’t write the plays or the sonnets. Sure, you thought everybody knew that, but it isn’t his bailiwick. And if that same NT scholar thinks the DH can be proved by comparing variations of the divine name in the Psalms, well even there we could make excuses (but I won’t), since the OT is also not his within his realm of expertise.
However, we cannot countenance the lack of knowledge when it comes to the surrounding cultures of the subject matter that an academic claims to know on a professional, scholarly level. If you assert that you know how the ancient Hebrews or Israelites compared to their neighbors, then you’d better understand those other cultures as well as possible.
Immortality: The “ultimate quest”?
Specifically, how much emphasis did the religions of the Ancient Near East place on the attainment of eternal life? According to Rendsburg:
Continuing the Jesus and Dionysus posts (sharing the 2006 Hermathena article by John Moles) . . .
The status of Christianity against Judaism
The Dionysiac myth also serves as a framework through which to address the status of Christianity in relation to Judaism. The god came to Thebes, to his own people among whom he was born to Semele, but he came as a stranger, unrecognized, even punished by the king as a trouble-maker for introducing something new that had no rightful place in the established order.
Christianity must also be presented as something “new” (“new wine” and the “sweet wine” claims made at Pentecost) but as nonetheless legitimate. Luke achieves this by portraying Jesus as the natural progeny, the rightful heir, fulfilment, of the (reputedly) ancient Jewish religion. All the Jewish scriptures spoke of him.
The above is my own interpretation of the state of affairs and my own synthesis of a longer discussion by John Moles. I’m open for others to make modifications or corrections.
Interestingly another scholar, Lynn Kauppi, has found that the same scene of Paul “on trial” before the Athenians is bound intertextually to another famous Greek play, Eumenides by Aeschylus. Kauppi cites F. F. Bruce and Charles H. Talbert as earlier observers of this link.
In Acts 17 we come to a scene that serves as a mirror for the narrative of the whole of Acts (p. 85).
Paul enters Athens and attracts notice as a purveyor of “strange deities” and a “new teaching”. Since Paul has just visited the synagogue in Athens to discuss his teachings we know that what he is bringing to Athens is far from “brand new”. It is an interpretation of the existing Jewish scriptures.
The scene evokes the Athenian reaction to Socrates. Socrates, we know, was also accused of introducing new deities. So the Athenians are doubly in the wrong: they are repeating the sins of their forefathers who condemned the wise Socrates and they are themselves enamoured of novelty. Indeed, they are no different from the “strangers” among them who share the same shallow interests. So Athenian prestige and distinctiveness are cut down by the narrator.
“Luke” plays with the ironies of double allusions here: the Athenians are like their ancestor judges who condemned Socrates for introducing “new” ideas and like Pentheus who condemned the stranger for introducing a “strange” god. All the while, along with the “strangers” in their midst, they condemn themselves for their own love of the novelty. The Jews in Athens, on the other hand, condemned themselves for their love of the old and rejection of the new revelation.
The relationship between Jesus-religion and Dionysus-religion
At one level Dionysus represents the totality of pagan gods and here (in Acts 17) we find Paul using a “recognized Jewish proselytizing technique” to bring pagans to Christ through their own gods. Continue reading “Functions of Dionysiac Myth in Acts, #2”
English: Pentheus (Jonathan Klein) and Agave (Lynn Odell) from The Bacchae, directed by Brad Mays, 2000. (Photo credit: Wikipedia)
The previous post in this series set out the evidence that there are correspondences between the canonical Acts of the Apostles and Euripides’ famous play Bacchae. This post continues presenting a lay version of classicist John Moles’ article, “Jesus and Dionysus”, published in 2006 in Hermathena. Do the allusions to the Bacchae and the Dionysiac myths and rituals in Acts actually “do” anything? Are they meaningless trappings, perhaps mere coincidences of imagery, or do they open the door to a new dimension of understanding of the work of Acts? If they “do” something meaningful that enhances our appreciation of what we read in a coherent and consistent manner then we have additional evidence that we are seeing something more than accidental correlations with the imagery and themes of the Dionysiac cult.
We begin with some general points about the practice of imitative writing before addressing the significance of the use of Bacchae in Acts. Where I have added something of my own (not found in John Moles’ discussion, or at least not in the immediate context of the point being made) I have used {curly brackets}.
Why should we expect Luke to have written like this?
This conclusion should not surprise: similar intertextuality marks [Luke’s] engagement with the Septuagint, or, among Classical authors, with Homer. Hence, just as Classical texts are intensely ‘imitative’ in the sense of ‘imitating’ other Classical texts, so too is Acts. (p. 82)
At the end of this post we look at Luke’s literary predecessors who likewise drew upon Bacchae through which to frame their narratives of imperial efforts to impose paganism upon the Jews.
* 2 and 3 Maccabees
** Horace, Epictetus, Lucian
What are the chances of the author of Acts using this Greek play?
Bacchae remained for centuries a popular tragedy: it had been exploited by Jewish writers as a tool through which to explore the relationships between religion and politics, between Judaism and pagan (Dionysus) religion;* and by Stoic and Cynic philosophers** in philosophical and political contexts. The author of Acts (let’s call him Luke) knew of both these groups.
Are we really to expect Luke’s audience would have recognized all of the allusions?
Don’t think, however, that Luke’s knowledge of the way other authors used Bacchae and his own similar use of it in Acts means his audience must have been restricted to a sophisticated elite. Surely he would have expected some of his audience to recognize the allusions — and we know that some of them did* — but that does not mean he must have expected all of them to have done so. We will see that in Acts itself may contain the message that “while Christianity does not need great learning, it can hold its own in that world”: compare the charge against Peter and the original apostles that they were “unlearned” even though they were “turning the world upside down” with the charge leveled at Paul that when he clearly presented much learning to his accusers, that “much learning had made him mad”.
Why would Luke make use of a Greek play in a work of history?
Acts consists of a “highly varied literary texture”. {Pervo’s work demonstrating the characteristics of the Hellenistic novel that are found throughout much of Acts has been discussed on this blog.} Ostensibly the work is a form of historiography, but if so, we can note that in some types of historiography “tragedy” finds a very natural place. Herodotus’s Histories, for example, is one ancient instance of historical writing in which myth is part and parcel of the narrative. {Some scholars have also described it as a prose work of Greek tragedy.} Dennis MacDonald has identified certain Homeric influences in Acts and these Homeric episodes are themselves bound up in motifs and themes of classical tragedy.
How do the Dionysiac parallels highlight key elements in the Acts (and Gospel) narrative(s)?
The names Moles thanks for assistance with this work are many: Loveday Alexander, John Barclay, Stephen Barton, Kai Brodersen, John Dillon, Jimmy Dunn, Sean Freyne, John Garthwaite, Albert Henrichs, Liz Irwin, Chris Kraus, Manfred Lang, Brian McGing, John Marincola, Damien Nelis, Susanna Phillippo, Richard Seaford, Rowland Smith, Tony Spawforth, Mike Tueller and Tony Woodman.
John Moles begins his article with two questions. The first of these is a dual one:
Is Acts influenced by Dionysiac myth or ritual and does it quote the play Bacchae?
Old questions, yes, but they are still being raised in the literature, as Moles indicates with the following list:
The second question is the one that is the main point of the article and the one given the most space in answering:
If the answers to the above are affirmative, what are the consequences?
I have it on authority that John Moles is not a mythicist so those who read this blog with a jaundiced eye can look elsewhere for material that serves their agenda.
Broad thematic parallels between Acts and Bacchae
John Moles lists the following:
the disruptive impact of the ‘new’ god
judicial proceedings against the ‘new’ god and his followers
‘bondage’ of the ‘new’ god or his followers
imprisonments of the ‘new’ god’s followers
their miraculous escapes from prison
divine epiphanies
warning that persecution of the ‘new’ god or his followers is ‘fighting against god’
a direct warning by the unrecognized ‘new’ god to his persecutor
‘fighting against god’ by the ‘new’ god’s persecutor
‘mockery’ of the ‘new’ god or his followers
general human-divine conflict
kingly persecutors
a kingly persecutor who arrogates divinity to himself
divine destruction of impious kingly persecutor
rejection of the ‘new’ god by his own, whom he severely punishes
the destruction of the palace/temple
adherence of women to the ‘new’ religion
Dionysiac ‘bullishness’
Though some of these parallels need justification, as Moles points out, it is clear that the two texts “share numerous important themes”. The possibility that the Bacchae influenced Acts is thus not implausible.
Detailed thematic parallels between Acts and Bacchae
Recently I disappointed the pastor of the Diamond Valley Community Church when I declined to respond to his point by point counter-claims to my comparison of the miraculous feeding of the 5000 as told in Mark 6:30-44 with Elisha’s feeding 100 followers with 20 loaves of bread in 2 Kings 4:38-44. This was a pity because he assures us that his efforts were “such a burden”, but we both know that those are the trials of a self-sacrificing follower of the Lord whose every breath is dedicated to banishing spiritual darkness from a godless world.
I have encountered the sorts of objections our burdened pastor made many times before and confess that by now I have lost all interest in engaging with them. Such objections — “this is not a real parallel because the story-reasons for the food shortage are different or because the prompts that led to groups of people sitting down are different in the two stories” — are a pointlessly puerile game of “spot the difference” where the pictures are quite different to begin with.
Original images at: http://alturl.com/uocjz http://alturl.com/57t8y (centre) http://alturl.com/quprv (right)
The differences in the above images are more striking than their similarities. One can search the net and easily find hundreds more and even more striking variations — different colour schemes, additional figures, different backgrounds, different positions and postures of the central figure . . . But one thing is clear: they are all adaptations of the original Mona Lisa by Leonardo da Vinci.
It would be a mistake to confine our comparison of the Gospel of John’s Jesus with Euripides’ play. Bacchae has no reference to the Dionysian miracle of turning water into wine (see the first post in this series for details) yet numerous commentators on the Gospel’s Cana Wedding miracle of turning water into wine have pointed to resonances with the Greek counterpart.
Further, it would be shortsighted to dismiss any comparison of the Gospel’s Jesus with Dionysus on the grounds that there is no obvious link between Jesus’ crucifixion and the dismemberment (the sparagmos) of the enemy of Dionysus.
Suffering and Power
Dionysus (Richard Werner) in The Bacchae, directed by Brad Mays, 2000. (Photo credit: Wikipedia)
In fact, when the god’s enemy undergoes humiliation and dismemberment he is really sharing in or identifying with the sufferings of the god. His name is, after all, Pentheus, with verbal resonances with “pathos” (suffering); and we have seen that the purpose of the god is to come to relieve the suffering of humanity through his gift of wine, and the play itself speaks constantly of the suffering that Pentheus must undergo as punishment for his attempt to thwart the purpose of the god. It is through the suffering of Pentheus (identifying with the sufferings of the god) that the god who comes in apparent weakness, as an effeminate mortal, is exalted — his victorious and divine power is displayed for all!
The “discovery of Dionysiac echoes in John’s story as a whole” (Stibbe, p. 2) — in particular with the miracle of Cana, (the identification, one might add, of Jesus with the vine itself), the binding of Jesus, the dialogue with Pilate and the pathos of Jesus’ crucifixion — requires us to look beyond the tragedy itself and to look at all that the myth conveyed.
Indeed, there are other myths where Dionysus inflicted the same punishment upon others apart from Pentheus. King Lycurgus of Thrace also opposed the worship of Dionysus. Dionysus punished him by sending him into a mad frenzy during which he dismembered his own son; subsequently his citizens pulled him apart limb by limb in order to remove the curse of Dionysus from their land.
An early form of the myth is that Dionysus was originally born to Persephone, queen of the underworld (Hades). (It is not insignificant, for our purposes, that some of the myths tell us Zeus intended this new child to be his heir.) The jealous wife of Zeus (Hera) who had fathered the child persuaded the evil Titans to destroy the infant. Attempting to avoid capture by the pursuing Titans Dionysus changed himself into a bull, but was caught in this form and pulled limb from limb. The Titans then devoured these dismembered pieces of flesh. Zeus punished them by destroying them with thunderbolts, and from the ashes humankind was created, a mixture of the evil of Titans and the divinity of Dionysus.
Twice Born, from Below and Above
Through all of that chaos one piece of Dionysus was rescued, his heart, which was returned to Zeus. Zeus used the heart (the myths and means by which he did this vary) to give Dionysus a second birth, so he became known as the “twice-born” god.
A later version of the myth, the one that lies behind the play by Euripides, is that Zeus had fathered Dionysus with the mortal woman, Semele. Again Hera sought to kill the child, this time before it was born, by challenging Semele to see Zeus in all his glory. When Zeus showed himself in all his godliness Semele, of course, was struck dead. But Zeus rescued the child from her womb and sewed it into his thigh until it was ready to be born a second time, from the god himself.
Anyone familiar with the Gospel of John does not need to be reminded of Jesus explaining the mystery of being born a second time from above. Continue reading “Jesus and Dionysus (3)”
This post continues from my earlier one that concluded with Mark W. G. Stibbe’s “very broad list of similarities” between Euripides’ Bacchae (a play about the god Dionysus) and the Gospel of John. Stibbe discusses these similarities in John As Storyteller: Narrative Criticism and the Fourth Gospel.
What Mark Stibbe is arguing
Stibbe makes it clear that he is not suggesting the evangelist
necessarily knew the Bacchae by heart and that he consciously set up a number of literary echoes with . . . that play (p. 137)
What he is suggesting is that
John unconsciously chose the mythos of tragedy when he set about rewriting his tradition about Jesus and that general echoes with Euripides’ story of Dionysus are therefore, in a sense, inevitable.
Stibbe firmly holds to the view that the Gospel of John is base on an historical Jesus and much of its content derives from some of the earliest traditions about that historical Jesus. The evangelist, he argues, was John the Elder, and he has derived his information from
a Bethany Gospel (now lost) that was based on the eye-witness reminiscences of Lazarus, who was also the Beloved Disciple in the Gospel;
a Signs Gospel (now lost);
the Synoptic Gospels (Matthew, Mark and Luke)
His final chapter in John as Storyteller consists largely of a point by point argument that the events of the arrest, trial and crucifixion of Jesus in the Gospel are based on historical events.
At the same time, Mark Stibbe is arguing that the author, John the Elder, is constructing his supposedly historical source material in a quite literary manner. He has chosen to write about the life and death of Jesus as a tragedy, argues Stibbe, and this was quite a natural thing to do because, we are assured, Jesus’ life and death just happened to be acted out in real life like a tragedy. It was a natural fit.
That’s where Stibbe is coming from.
Mark Stibbe, a vicar of St Mark’s Church at Grenoside (Sheffield) and part-time lecturer in biblical studies at the University of Sheffield when he wrote this book, writes from the limited perspective of formal New Testament studies. So he writes from the viewpoint of a Christian studying why the Gospel of John wrote about the very real founder of his faith, Jesus, would echo aspects of a Greek tragedy.
What this post is questioning
I’m interested in a different perspective. A proper study of religion from a scientific perspective would be through anthropology, I would think. New Testament studies are primarily about analysing and deconstructing and reconstructing biblical or Christian myths. The end result must always be a new version of their myth, if we follow Claude Lévi-Strauss.
No, I am not going to argue that Christianity grew out of the worship of Dionysus or that the original idea of Jesus was based upon Dionysus. Rather, I am exploring the possibility that the portrayal of Jesus that we find in the Gospel of John is in significant measure a variant of the Greek Dionysus myth.
This possibility arises, I suspect, when we bring together the following:
the insights of theologian Mark Stibbe into the way the Jesus story is told in the Gospel of John
an understanding of the techniques used by ancient authors to imitate earlier literary masters (this goes well beyond Stibbe’s own contributions)
the various ancient versions of the myth of Dionysus (this is preparatory to the fourth point . . . . )
an anthropologist’s structural analysis of myths, in particular the methods of Claude Lévi-Strauss (this brings together key themes and information from the above three areas in a manner that strongly indicates the Jesus we read about in the Gospel of John is a Christian variant of the Dionysus myth.) — And yes, I will take into account the several works of Jonathan Z. Smith supposedly overturning the possibility of such connections.
This should hardly be a particularly controversial suggestion. Most theologians agree that the Christ we read of in the Gospels is a myth. These posts are merely attempting to identify one source of one of those mythical portrayals.
Let’s look first at what Mark Stibbe (John as Storyteller: Narrative Criticism and the Fourth Gospel) tells us about the literary affinities between the Gospel of John and the Bacchae, a tragedy by Euripides. Though the Greek play was composed five centuries before the Gospel it nonetheless remained known and respected as a classic right through to the early centuries of the Roman imperial era. Moreover, we have evidence that as early as Origen (early third century) the Gospel was compared with the play. See Book 2, chapter 34 of Origen’s Against Celsus.
But Stibbe does not argue that the evangelist directly borrowed from the play. Despite the many resonances between the two he writes:
It is important to repeat at this stage that I have nowhere put forward the argument for a direct literary dependence of John upon Euripides. That, in fact, would be the simplest but the least likely solution. (p. 139)
It certainly would be the simplest solution. The reason Stibbe thinks it is the “least likely” option, however, is the fact of there being significant differences between the gospel and the play. What Stibbe has failed to understand, however, is that literary imitation in the era the Gospel was characterized by similarities and significant differences that generally served to set the new work apart on a new thematic level. The classic illustration of this is the way Virgil imitated Homer’s epics to create the Aeneid. The differences that are just as important as the similarities and that even establish the very reason for the imitation. But all of this is jumping ahead to the next post.
Let’s look for now at the similarities, similarities that according to Stibbe may well be explained simply by the evangelist’s general awareness of the “idea of tragedy” in his culture.
That last post was a slap-dash effort. This post provides more illustrations of the way these novels can throw light on both the Gospels and letters of Paul; it concludes with a special focus on the Philippian Hymn in which Christ was abased in order to be exalted above all creation. Further, this time I’m less rushed and have had time to quote passages from the novels themselves.
Hock first explains the point of comparing popular Greek romances with New Testament literature:
The number and variety of parallels between the Greek novels and early Christian literature are legion. The following sampling of these parallels only hints therefore at what a thorough investigation of this genre might accomplish . . . .
Ronald Hock
But first a word of justification: The evidence for earliest Christianity is too fragmentary and culturally alien to be fully understood without recourse to a clarifying and complementary set of roughly contemporary evidence. Typically, however, scholars have sought this evidence largely in Jewish sources; seldom has any scholar looked at the evidence of the novels. But whatever the Jewish roots of Christianity, the earliest Christians lived in a traditional culture and specifically that of the Hellenized oikoumene of the early Roman Empire. The novels, products of this oikoumene, often set their action precisely where Christianity first took root and flourished: Barnabas’ Antioch, Paul’s Tarsus, John’s Ephesus, Mark’s Alexandria, Polycarp’s Smyrna.
But the point of comparison is not mere propinquity, for the novels provide an extensive, concrete, and coherent account of the traditional culture of the New Testament world. It is the novels’ very comprehensiveness — their documenting the habits of thought and action that regulated life in the cities, agricultural areas, and outlying wilderness areas — that justifies their use for interpreting the parallel, but briefer, accounts in the New Testament and other early Christian literature.(p. 139, my emphasis and formatting)
Hock, for space reasons, restricts his parallels to the Gospels and letters of Paul. He compares only novels dated to the first and second centuries.
To depart from Hock for a moment and intrude with my own comments: The examples here are only a smattering of what one recognizes when reading the novels for oneself. The novels are also an especially potent cure for anyone who has the notion that peoples in days before Christianity were somehow especially morally depraved. They are a great invitation to meet our ancestors and to see how like us they were, how humans are not only the same the world over, but the same through the ages. Continue reading “Greek Novels Casting Light On New Testament: Part 2 of “Why NT Scholars Should Read Ancient Novels””
Around 1400 BCE the well-known Babylonian Epic of Creation, Enûm Elish, the Epic of Gilgamesh and other stories found their way through Syria and into the Levant where the Canaanites preserved them as oral traditions for centuries until the Israelites learned of them. Then around the tenth or ninth centuries these Israelites incorporated some of those myths into an early version of Genesis (known as J in the Documentary Hypothesis).
About four centuries later, around the fifth century, the authors of that layer of the Bible known as P took quite independently orally preserved overlapping Mesopotamian legends and used them to add additional details from those myths that had been preserved by the Jews orally throughout to the J stories.
Now one remarkable aspect of this scenario (accounting for the Mesopotamian legends underlying Genesis 1-11) that has been pointed out by Russell Gmirkin is that though they had been preserved orally for centuries by the Canaanites, in Genesis they are completely free from any evidence of Canaanite accretions. This should be a worry, says Gmirkin, because Canaanite influences are found throughout the rest of the Bible.
Gmirkin suggests that this traditional model of how the Babylonian legends came to be adapted in the Genesis narrative is strained, so he proposes an alternative.
The author/s of Genesis 1-11 borrowed directly from the early third century (278 BCE) Babyloniaca of the Babylonian priest Berossus. The sources for this work show that Berossus himself drew upon the Babylonian epics of Creation and Gilgamesh, and Gmirkin argues that some of his additions and interpretations found their way into Genesis. Moreover, the Epic of Creation that resonates in Genesis, the Enûm Elish, was quite unlike other Babylonian creation myths:
the standard Babylonian myth of creation (e.g. Atrahasis Epic, Enki and Ninmeh) began with earth, not with waters;
Enûm Elish was specifically associated with the cult of Marduk, localized in Babylon — its purpose was to explain why the Babylonian patron god, Marduk, had been promoted over the other gods.
Note also:
during the late Babylonian period and Seleucid times, the Enûm Elish likely increased in significance, but was still only recited in Babylon’s New Year Festival;
Berossus was himself a priest of Bel-Marduk in Babylon at this period. For Berossus, the Enûm Elish would have been the definitive creation epic.
The Enûm Elish was very likely unknown beyond the region of Babylonia until Berossus himself drew attention to its narrative for his wider Greek audience. Gmirkin believes the simplest explanation for the Enûm Elish’s traces in Genesis is that they were relayed through Berossus’s Babyloniaca.
The best way to understand just how ‘non-religious’ or ‘non-biblical’ are the books of the New Testament — that is, to understand just how much a product of their own wider Greco-Roman literary culture are those books — is to read the popular novels of that era.
I enjoy both literature and ancient history so I loved reading the Collected Ancient Greek Novels edited by B. P. Reardon. They are called novels here, but they are otherwise labelled ‘novellas’, ‘erotic novels’ (from their theme of love at the behest of the god Eros), or ‘romances’.
So I was pleased to find that New Testament scholars have indeed been studying these and publishing on what they can teach us about the New Testament. (This was some years ago, but I am trying to catch up on years of reading on this blog.) One of these academics is Ronald F. Hock (I referred to him in my previous post) and it is my take on his chapter, “Why New Testament Scholars Should Read Ancient Novels” appearing in Ancient Fiction and Early Christian Narrative that I share in this post.
The Shepherds, Daphnis and Chloe (Photo credit: Wikipedia)
On the value of these novels for New Testament studies, Hock writes the following — and I have rearranged his paragraph-mass into an easy to skim column format:
they . . . provide the reader with a remarkably detailed, comprehensive, and coherent account of the social, economic, and religious institutions of the people and regions that witnessed the spread of Christianity into the Greek East of the early Roman Empire. (123)
The romances are set in Antioch, Tyre, Tarsus, Ephesus, Miletus, Alexandria, Paphos, Xanthus, and Tarentum, to name just a few of the cities mentioned in the New Testament, and in these cities we observe first-hand all sorts of people in ordinary and extraordinary situations — from the activities of the leading aristocratic families in the πόλις to those of the most marginalized shepherds and brigands in the χώρα and ἤρεμος. (124)
